All language subtitles for veto-last.tango.in.paris.1972.remastered.164_track3_[eng]

APARTMENT FOR RENT
4 ROOMS... ELEVATOR

- A phone token, please.
- No tokens. At the end, on the left.

- Mom?
Yes, it's Jeanne.

I've found a flat to rent in
Passy. I'm going to see it.

Then I've got to go to the station
to meet Tom. I promised him.

OK, see you
later. Bye!

I've come to see the flat.
I saw the sign.

- The sign?
- Yes.

It's always the same!
Nobody ever tells me anything.

- I'd like to see it.
- You want to rent it?

- I don't know yet!
- They rent, they leave,

and I'm the
last to know.

Do you think
that's right?

If you want to
go up alone,

go on.
I'm afraid of spiders.

The key
is missing.

Strange things happen.

They drink six
bottles a day.

Wait! Don't go!
There must be a duplicate.

Here it is.

You must
be very young.

- Let go
of me!

She's crazy!

Who are you?

You gave me a fright.
How did you get in?

- Through the door.
- Oh, yes. I left it open.

I didn't hear
you come in.

- I was already here.
- Sorry?

Oh, it was you
who took it.

I had to
bribe the concierge.

They're fascinating,
these old houses.

An armchair by the
fireplace would look good.

- The armchair
should go...

in front of
the window.

- Are you American?

You've got an
American accent.

- Are you going to take it?
- Are you?

- I don't know.

Oh la la!

Do I answer
it or not?

- There's no one!

I don't know.

- So you're going to
take it? You've decided?

- I had
already decided.

But I'm
not sure now.

Do you
like it?

Do you like it?!

- I don't know. I shall
have to think about it.

- Think fast.

- I thought
you'd left.

- Watch out!
- Have they taken us for someone else?

- We're in a film.
We're in a film.

If I kiss you,

it might
be cinema.

If I stroke
your hair,

it might
be cinema.

What's going on?
Do you know them?

It's a long story.
In short, Portrait of a Girl.

It's been accepted for television!
And the girl is you. It's you!

- You're mad! You
might have asked me first.

Yeah, but
I wanted...

I wanted to start with shots of Jeanne
at the station meeting her fiancé.

Yes, I know them.
They're my crew.

- So you
kissed me...

and you knew it
was being filmed.

You're a bastard!
Traitor!

No, you'll see.
It will be a love story.

Tell me, Jeanne, darling.
What did you do while I was away?

- I thought of you day
and night, and I cried.

Darling, I can't
live without you!

- Wonderful! Cut!
That was perfect!

- I'd have
finished by now,

but the cops wouldn't
let me touch anything.

They didn't believe it was suicide.
There was so much blood everywhere.

They had fun making
me do a reconstruction.

"She went there."

"She came
through here."

"She opened
the curtain."

I copied
all her actions.

The guests were
awake all night!

The hotel was
crawling with cops!

They enjoy playing
around with blood.

They were
all spies!

Asking if she was sad,
if she was happy,

if you fought,

how long you'd been married,
why you didn't have any children.

Pigs!

They got familiar
right away!

They said, "Your boss
is a bit unstable."

"Do you know
that he was a boxer?"

So?

"It didn't
work out,

so he became

an actor."

"Bongo player,

revolutionary in
South America,

journalist in Japan."

"One day, he
lands in Tahiti...

hangs around,

learns French."

"Then he comes
to Paris. There

he meets a woman with
money, marries her and..."

"Since then what
has your boss done?"

"Nothing."

I say,
"Can I clean up now?"

"No! Don't
touch anything!"

"Do you really think
she killed herself?"

He pushed me into
a corner and tried to paw me...

- Turn the
tap off now.

- They'll be doing
the autopsy right now.

- Why won't you
turn the tap off?

- They told me to give
you your razor back.

- It's not mine.

- They said they don't need it
anymore. The investigation is over.

Yes, she
had cuts there,

and on the neck,
too... Agh!

- Excuse me,
where shall I put this?

- You could have rung the bell.
- The door was open. I'll put it there.

- In front of
the fireplace.

- Careful, Madame.
- There.

- What about the table?
- How do I know? He'll decide.

- This is a king-size!
- It won't fit.

- Well, your husband has no idea.
All this in an hour... It's not long.

- What a mess!

- Thank you.
- Thank you.

The armchair goes
in front of the window.

Like that.

- But I only came
to return the key.

To return it to you.
- I don't care about the key.

Take your
coat off.

Take your coat
off and help me.

OK.

Get those chairs
and bring them here.

Put them on
the other side.

Take that, too.

That's it.

- You didn't
waste any time.

Listen, monsieur!

I've got
to go.

- I thought you'd be here.
- I expected you later.

PRIVATE

- I took
the first train.

Oh, Paul! How awful!
How awful, Paul!

Papa is in
bed with asthma.

The doctor wouldn't
let him come.

It's better like that.

I'm stronger.

- What are
you looking for?

- Something that
would explain...

a letter, a clue.
- Nothing.

I told you, there's
nothing, nothing at all.

- My little Rosa
wouldn't have...

Nothing for her
mother. Not a word.

- It's useless to
keep on searching.

- Not even for
you, her husband!

- You need
to rest.

I think room
twelve is free.

- With a razor?

What time
did it happen?

- I don't know.
In the evening.

- And then?

- Then I... I already
told you on the phone...

When I
found her,

I called
the ambulance.

- After you called

Papa and I
stayed up all night,

talking about
Rosa and you.

Papa kept
whispering,

as if it had
happened in our house.

Paul!

Where did it happen?
- In one of the rooms.

- Did she suffer?

- Ask the doctors.
They're doing the autopsy.

- The autopsy.

I already had some
announcement cards.

I've seen
a lot of death.

I think
of everything.

I'll prepare her a
beautiful room with flowers.

- The cards,

clothes, relatives, flowers.

You've got everything
in that suitcase.

You didn't
forget anything.

But I don't want
any priests here.

- But...
- No priests.

- But, Paul...
- Understand?

- We have to. Funerals
must be religious.

- No!

Rosa didn't believe!

- Paul, don't shout.
Don't talk like that.

- They'll give
her absolution.

Absolution and a nice mass.
That's all I ask, Paul.

Rosa... Rosa is my little
girl, do you understand?

Rosa... Why did
she kill herself?

- Why? Why did
she commit suicide?

Why?

You don't
know, huh?

You don't know.

- You shouldn't have
done that to me.

- It's not a
wig, it's my hair.

Doesn't it suit me? Tell me,
don't you like it? Tell me.

- Of course
I like it.

Listen, you know...

I don't know.

You have changed,
and yet you haven't.

I can see
the shot now.

The camera
is up high.

It descends slowly
and follows you.

You come forward,
and it moves in on you.

There's music, too.

It gets closer
and closer to you.

- I'm in a hurry.
Let's start.

- But...

can't we
talk a little first?

- Tonight we improvise.

You follow.

He was my
childhood friend.

He used to watch me for hours
and hours. I think he understood me.

- Dogs are worth more
than people. Much more.

- Meet Olympia,
my nanny.

- Mustapha could always
tell the poor from the rich.

If someone well-dressed
came in, he never stirred.

But if someone scruffy came in,
you should have seen him! What a dog!

The colonel trained him to
recognize Arabs by their scent.

- Olympia, open the front door.
- Give me a kiss.

- Go and
open it.

Olympia is a compendium
of domestic virtues.

Faithful, admiring,
and racist.

After Papa died, we moved back
to the family home for a while.

My childhood was
made up of smells.

Musty smells, the
smell of walls and rooms.

Children used to come and
play in my jungle, all day long.

Growing old
is a crime.

That's me there.

And that's Mademoiselle
Sauvage, the teacher.

She was very strict
and very religious.

- She was too good.
She spoilt you.

- That's Christine,

my best friend.

She married the pharmacist
and has two children.

It's like a village here.
We all know each other.

- I couldn't
live in Paris.

- We're safe here.

It's odd looking at the past.
- Cut!

Why is it odd? It's you!
It's fantastic, it's your childhood.

It's everything
I was looking for.

What are you up to?
Move it! Move it!

Who are these zombies who are
always following you around? Scoot!

Go on!
The door, the door...

I'm opening
the door.

I'm opening
all the doors.

- What are you doing?
- Setting up my shot.

There it is!
That's it! I've found it.

Reverse gear!

What are you
doing there?

Beat it!

That's it.
Into reverse. Yes!

Do you see? Like a car,
you go into reverse gear.

That's it.
Close your eyes.

Start reversing.
Close your eyes.

That's it, come on.
Come on backwards.

That's it.
Go back to your childhood.

- Papa?
- You're soaring.

Take off and return to your childhood.
- In full uniform.

- Don't be afraid.
Overcome the obstacles.

- Papa in Algeria.

- You're 15.

14...

13... 12...

11... 10... 9.

We're there.
- My favorite route when I was eight.

My old notebook.

French homework.
Theme: The countryside.

Exposition: The
countryside is cow country.

The cow is all
dressed in leather.

The cow has four sides:
The front, the rear...

the top
and the bottom.

Isn't that good?
- Beastly!

- Here are my cultural sources.
Le Grand Larousse.

I just
copied from it.

Menstruation.
Noun, feminine.

Physiological function
comprising the discharge of menses.

Penis.
Noun, masculine.

Male copulation organ,
measuring five to forty centimeters.

That's
Le Petit Robert.

Tom! Look!

- Who's that?
- My first love.

- Who?
- My cousin Paul. My first love.

- But his eyes are closed.
- What?

- His eyes are closed!
- He played the piano divinely.

That's how I
remember him.

Sitting at the piano.

His fingers would
skim the keys.

He played for
hours and hours.

At the bottom of the garden,
there were two big trees.

A plain tree and
a chestnut tree.

After mass on Sundays,
we used to sit there,

each under
our own tree.

It was wonderful. We sat
gazing into each other's eyes.

Aren't my trees beautiful?
They were my jungle.

- What are you doing?
- Having a shit.

- No, we're
doing a poo.

- Shame on you, doing it in my jungle!
- Watch out! Run for it!

Oh, these dirty little Arabs!
Go and shit in your own country!

- Keep filming.
Keep filming!

Don't stop,
whatever you do!

- Did you get it?
- Everything.

- Olympia was great.

It'll give a good idea of race
relations in the suburbs of Paris.

- It's a real
jungle here.

So, tell me
about your father.

- I thought we'd finished.
- Five minutes.

- I'm meeting someone for work.
- But the colonel...

the colonel!

- The colonel had green
eyes and shiny boots.

I worshipped him.

He was so handsome
in his uniform.

What? Don't...

- He died in
Algeria in '58.

- '58. And don't joke
about things like that.

- Why aren't you
listening to me?

- The first time?

I was really
late for school.

I started running
and it was downhill.

All of a sudden, I felt
a strong sensation here.

So I ran
and ran...

and I
came as I ran.

The faster I ran, the better
it was and the more I came.

A couple of days later,
I tried to do it again,

but no luck.

Why aren't you
listening to me?

Why do I feel like I'm talking
to a brick wall when I talk to you?

Your solitude
weighs on me.

It isn't indulgent.
It isn't generous.

You are selfish!

- I can't sleep
with this music.

- I came to this hotel a long
time ago, to spend one night.

And I stayed
for five years.

- When Papa and
I had the hotel...

people came
here to sleep.

- Now, there's
all sorts.

They can hide,
take drugs, play music.

Take your
hand away.

- You're not alone,
Paul. I'm here.

Agh!
You're crazy!

I'm starting
to understand.

- Do you want me to
make them shut up?

- What are you doing, Paul?
- I'm afraid!

- Put the
light on!

- The light, Paul.

- Good evening, Madame.
- Good evening.

- Good evening, Marcel.

- Goodnight, Paul.

- Who's that?

- Do you like him?

He was Rosa's lover.

- Again!

I'm coming!
I'm ready.

Shall we
leave together?

Bastard!

He's a git!
Not even goodbye!

- What are you doing there?
I'm coming! I'll fly!

- Wait! I've got to talk to you.
- Why didn't you speak on the phone?

What's up?

- You must find someone else.
- For what?

- For your film.
- Why?

- Because you're
taking advantage of me.

Because you make me
do things I've never done.

Because you're
taking up my time.

You make me do
whatever you want.

The film
is over!

I'm tired of
being raped!

- Come in!

- You wanted to
talk to me. Go on, then.

You know I haven't
come to cry with you, huh?

- Do you mind if
I carry on working?

It helps me a lot
after what has happened.

Identical.

Rosa wanted
them identical.

- Our bathrobes, huh?

You can't tell me anything
I don't already know, huh?

- Same color,
same pattern.

- Yes, yes, yes.

You're meticulous.

I've always wondered why
you save newspaper clippings.

Is it work?
Or a hobby?

- Hobby? I don't
like that word.

- Ah!

Let's say it's some extra
cash. I do it for an agency.

- Oh, so
it's serious.

It's a job that
makes you read, huh?

Very educational.

- Be honest.

You didn't know we
had the same bathrobes.

- Marcello.

- We've got a lot
of things in common.

- Marcello,
I know everything.

No, Rosa often
talked to me about you.

I don't think there are
many marriages like that.

It's strange.

I'm thirsty.

- Would you like a shot of bourbon?
- Hold on.

Here's the bourbon.

- Was that a present
from Rosa, too?

- I don't really
like bourbon,

but Rosa wanted me to
keep a bottle here in my room.

I was asking
myself this question.

If, with these
little things,

unimportant things,

we could go back over things,
and understand together.

- Together?

- It's almost a year
that Rosa and I...

Not passionately,
but regularly...

I thought I knew her
as much as you can know...

- Your mistress.
- For example,

a while ago, something happened
that I still don't understand.

Do you see there,
on the wall?

She had climbed
onto the bed,

and she was trying to tear
at the walls with her hands.

I stopped her because
she was breaking her nails.

She had a strange...
violence about her.

I'd never seen
her like that.

- Our room
is painted white.

Rosa wanted it to be different
from the other rooms in the hotel.

To make
it look like...

a more
normal home.

But...

it had to be
changed here, too.

I think she started
with the wall.

- A cold sore.
I don't know. Shit.

- You're lucky, huh?

You were... you must
have been very handsome

twenty years ago.

- Not as
much as you.

- You've still
got all your hair.

- My hair... I have to
have it trimmed often.

And wash it. I wash
it nearly every day.

- Don't you
have massages?

- Yes, I do.

- You're in
good shape.

What do you do for...
your stomach?

That's my problem.

- For that...
I have a secret.

- Tell me!

- Are you leaving us?
I saw your suitcase was packed.

America.

Why was she
unfaithful to you?

- You can't believe
that Rosa...

killed herself.

It's hard
for me to

believe, too.

- This is
my secret!

Thirty times
every morning.

- Are you in?

Is anyone here?

Hi, monster.

Is something wrong?

Do you
really think

that an American sitting
on the floor in an empty flat,

eating cheese and
drinking water is interesting?

There's something under
here. Can you hear it?

It's hollow.

- What are
you doing?

- Shit!

- Do you know why I
sent the others away?

- Because you're angry, or
you want to be alone with me?

- And why do I want
to be alone with you?

- You have something
really serious to tell me.

- I have something really
very serious to tell you.

- Is it happy or sad?
- It's a secret.

- So it's happy.
What sort of secret?

- A secret...
- Speak up! I can't hear anything.

- ...between a man and a woman.
- Is it dirty or is it about love?

- About love.
But that's not all.

- A secret about love,
but which isn't love.

What is it?!

- Voila! That in a
week I'm marrying you.

- What?
- I'm marrying you.

- What?!
- I'm marrying you!

- You're marrying me?
- Yes!

- We're getting married?
- Yes.

- No?
- Yes.

- No!
- Yes.

- Yes?
- Yes.

- No.
- Yes.

- Yes?
- No.

- Are we getting married or not?
- I don't know.

- So, yes, then?
- Yes!

- No!
- Yes!

- Yes.
- No.

- Yes or no?

- Of course, I'll send
everything to the country.

What do you
think, Jeanne?

- Olympia will
be happy.

I went there
yesterday with Tom.

She's preparing
a family museum.

- Of course, I'm not sending the
boots. I'm keeping them with me.

I get strange shivers
when I touch them.

All these military
things never age.

When I was little, it
seemed really heavy...

when Papa taught
me how to shoot.

- I'm keeping
that here.

In a respectable household,
it's useful to have a weapon.

- You don't even
know how to use it.

- The important thing is to have
one. It makes an impression.

- You really kept
everything of Papa's.

Who's that?
His orderly?

- A fine example of a Berber.
- Oh.

- A strong race. I tried to employ them
as servants, but it was disastrous.

I'm glad I decided to send
everything to the country.

All his things were
piling up and piling up.

- Don't worry. You'll soon
have all the space you want.

- What does
that mean?

- Nothing.

Madame, the
colonel's lady,

I announce...

- What? What?

On this solemn day...

- What?
What solemn day?

- I'm getting
married in a week!

- What did you say?
- To Tom! In a week!

- Pardon?
- Tom!

In a week!
- What are you doing in a week?

- Five... two!

Move into shot!
We're shooting!

So... how do you
see marriage?

- Marriage?
- Yes.

- I see it everywhere.
All the time.

- What do you
mean, everywhere?

- On walls. On buildings.
- Walls and buildings?

- Yes, on advertising hoardings.
What are they selling?

- Cars.
Tinned meat. Cigarettes.

- No. They're all
about young couples.

Before marriage,
no children.

Then the same couple,
married with children.

In short, marriage.

The perfect, ideal,
successful marriage.

It's no longer the
preserve of the Church.

The husband was burdened with
responsibilities and the wife nagged.

Now, weddings
in advertising smile!

- They smile.
On posters.

- On posters, of course. But why
not take poster marriage seriously?

Marriage...
Pop marriage!

- Pop? That's
the formula.

For pop youth,
pop marriage!

But... what if the pop
marriage doesn't work?

- Then you have to fix it
like you would a car.

The spouses are two
workers in overalls,

bending over
an engine to fix it.

- And in case of adultery
what happens to the pop marriage?

- In that case, there
are three or four workers.

- What about love?

Is love pop?

- No. That's not.
Love isn't pop.

- Love isn't pop.
So what is it?

- The workers retire
to a secret flat,

take off their overalls and
become men and women again,

and make love.

- You're wonderful.

- It's the dress
that makes the bride.

- You're better
than Rita Hayworth.

Better than
Joan Crawford!

Better than
Kim Novak!

Better than
Lauren Bacall!

Better than
Ava Gardner...

...when she was
Mickey Rooney's lover!

What are you doing?
Stop! Stop, but keep filming!

Why aren't you filming in
the rain? You're crazy!

- Where's Jeanne?
- She must have run off.

- When?
In the rain?

- Please forgive me!

- I wanted to leave
you and I couldn't.

I can't leave you,
do you understand?

Do you
still want me?

- Voila!

- I want to get out
of here. I want to go.

I can't stand it
here any more.

Yes. I'm going.

I'm not
coming back...

...ever.

- Quo vadis, baby?

- What?

- Is anyone there?

- There was
a noise in there!

- Well? Is
anyone there?

- Here he is.
Hurry up!

Wake up!

- Open up! Open up!
- It's four in the morning.

- I need room
four for a while.

Half an hour?
Yes, that'll do.

Yes, half
an hour.

- We're full.
- That's not true.

When you're full,
you put a sign outside.

I know
the hotel.

I'm sick of arguing
out on the street.

Call the owner.

What are you waiting for? The
owner has never made a fuss.

Rosa and I
are old friends.

Open up.

Don't make any trouble
or I'll tell your boss.

Come in,
it's all sorted...

You've won.
He's taken off.

- I'm very sorry.

- Hurry up!
He can't be far away.

Make him come back.
Tell him he can't just walk off.

- Oh... please don't
tell her you found me.

I don't fancy it any more.
Did you see her face?

Once, my
wife satisfied me.

But now she's got a skin
disease. It's like snakeskin.

Put yourself in my place.
- Come. Come with me.

- But...
let go of me!

You're crazy!

Let go of me!
Let go!

- Try and remember!
The man from the fourth floor.

He moved in
a few days ago.

- I told you,
I don't know anyone.

They come and go. The man on
the fourth, the woman on the first.

What do I know?

- Where did they take the
furniture to? It's empty.

Where do you send his mail?
Give me his address.

- I don't
have it.

I don't know
these people.

- Not even his name?
- Nothing!

Mam'zelle!

- I've found
a flat for us.

1, rue Jules Verne.

Yes. In Passy.

Come quickly!
You'll come now?

Do you know
where it is?

I'll wait for you.
Come over.

Come in,
it's open.

Do you
like our flat?

It's very light.

There's a tiny room, too.
It's too small for a double bed.

It would be
fine for a child.

Fidel. That's a
nice name for a boy.

Fidel,
as in Castro.

- But I'd like
a girl, too.

Rosa. As in
Rosa Luxemburg.

Less famous,
but I like it.

You know...

I wanted to
film you every day.

In the morning,
when you wake up,

in the evening,
when you sleep.

When you
first smile...

and I didn't
film any of that.

Here.

Today is the last day
of shooting, you know?

The film
is finished.

I don't like things that
finish, things that end.

You have to start
something else right away.

This flat
is huge!

Where are you?
- I'm here!

- It's too big! We'll get lost!
- Stop it! Don't start!

- How did you find this flat?
- By chance.

- We'll change everything!
- Everything!

We'll change
chance to destiny.

- Go on, Jeanne.
Take off!

Fly away,
you're in heaven!

You're soaring,
you're in heaven!

Come down, take a
nose dive, come down!

Make three turns,
come down.

Jeanne, what's happening?
There's an air pocket.

- What's happening?

- The patches of
turbulence are over.

We can't play like children
anymore, Jeanne.

We're adults.
- Adults? That's awful!

- Yes. It's awful.

- What do
adults do?

- I don't know.

We'll have to invent
the gestures and the words.

For example, adults...

But there's one
thing I do know.

Adults are
calm, serious,

logical, measured,
level-headed.

- Yes.

- And... they face up to problems.
- Yes, yes. Yes, yes.

- You see, Jeanne, this
flat won't work for us.

This flat, it won't
work for us, Jeanne.

- Where are you going?
- To look for a flat.

- What kind
of flat?

- A flat we
can live in.

- We can
live here.

- It's squalid. It smells.
It makes me sick.

Are you coming with me?
- No, no.

I've got to close the windows and
return the key. There's a lot to do.

- OK.

- Bye.
- Bye.

- The jury
has chosen

the following
ten best couples:

Number three!

Seven!

Eight... Nine...

11... 12...

13... 14...

15... and 19!

And now, ladies and gentlemen,
good luck for the last tango!

- That's the limit!
What are you doing?

You'll have
to leave, sir.

- Madame!
'Tis ever love.

- Go to the circus if
you want to see love!

Go on!
Get out of here!

You'll have
to leave.

- It's over.

- Stop it!
We're finished.

- Go away!
Go away! Go away!

Go away!

- I'll call
the cops!

- After you,
mademoiselle!

- It's over!

It's over!

- It's over!

- Help!

Help! Help!

Please, help!

Help! Help!

- Help! Help me!

Help!

- I don't know
who he is.

He followed me
in the street.

He tried to rape me.
He's a lunatic.

I don't know
what he's called.

I don't know
his name.

I don't know
who he is.

He tried
to rape me.

I don't know.

I don't
know him.

I don't know
who he is.

He's a lunatic.

I don't know
his name.